“ma hea e kūʻai ai au i ka nohu waiwai”

Katsu chicken only comes with 1 scoop of rice, that’s 10000% un-hawaiian. It has to be 2 scoops, come on, really? Ok cool kimchi, that’s a nice touch. A little young, but still good. The mac salad was barely recognizable. Almost tasted like they used brown rice pasta, it was that bland. A gang of olives which have no business being in my salad. It was almost “healthy”. A sad excuse. Easily the worse mac salad I’ve had at any Hawaiian food truck/restaurant.
Warner was first employed at UH Mānoa in 1978 as a lecturer teaching Hawaiian 101 in the Indo-Pacific Language Department (IPLD). He continued to teach through spring 1984, after which he left for a semester to take up an instructor position in Hawaiian at UH Hilo. In spring 1985, he returned to the Indo-Pacific Language Department as an instructor of Hawaiian. He continued in this position until his appointment to the position of assistant professor in 1994 with the Department of Hawaiian and Indo-Pacific Languages and Literatures. In 2003, Warner was promoted to associate professor where he has held several leadership positions, including director of Kawaihuelani Center for Hawaiian Language.
Urban Panorama gives voice to urban tribes defined by their gritty attitude and colorful graffiti style. It is a well-defined manifesto of denim displayed in infinite variations. It’s a space for those yearning for freedom, with inspiration drawn from biker culture and ethnic influences. The watchword here is layering and mixing shapes, fabrics and styles.
Literally translated, Nānā i ke kumu means ‘look to your source’ recognizing an inner wellspring inside each and every one of us. We look within, and self reflect to get healthy, in body, mind and spirit. This is one’s wellspring of identity and intuition, intellect and emotion, values and beliefs, lessons learned and ancestral knowledge, all personal and professional alike.
Holo akula wau i ʻekolu huakaʻi lōʻihi ma mua o kēia huakaʻi. Mai Hawaiʻi a i Maikonekia, mai Palmyra a i Hawaiʻi, a mai Aotearoa nō hoʻi a i Tahiti. Ua wela kekahi, ua anuanu kekahi, ua koʻekoʻe kekahi, a ua maikaʻi ka holo ʻana o nā mea pau. ʻO kēia huakaʻi naʻe ka mea kū nō i ka hoihoi oʻu. ʻOiai e holo ana mākou ma ke kaulua e like me ko nā kūpuna holo ʻana, e nānā wale ana nō i nā ʻale like o ka moana i ʻike ʻia e nā kūpuna, e kilohi ana i nā hōkū like, e pā ana i ka makani like, e nānā like ana i ka holo ʻana o ke keiki kapu a Wākea (‘o ia hoi ‘o ka lā), a ‘o ka mea nui e ‘okoʻa ai kēia huakaʻi, a ‘okoʻa nō hoʻi ai nā mea o mua, ke holo nei mākou ma ke alahula o nā kūpuna o mua o mākou, ka moana hoʻi ma waena o Hawaiʻi me Tahiti. ‘O kēia ke ono o ka huakaʻi o Hōkūleʻa mai Hawaiʻi aku a i Tahiti. He mea nui ia. Eia naʻe, ʻaʻohe poina ʻana i nā inoa o nā kūpuna kekahi, ‘o Papa, ‘o Kaʻulu, ‘o Hema, ‘o Kahaʻiahema, o Paumakua, ‘o Mōʻīkeha lāua ‘o ‘Olopana, a pēlā aku.
‘O kekahi kumu hoʻi i kū ai kēia huakaʻi i ka hoihoi, ke holo nei mākou mai ke kai a Kāne, holo ana i ka piko o Wākea, a noke ana i ke kai a Kanaloa. Iā mākou ma ka moku o Keawe, kipa akula kekahi o mākou i ka piko o Wākea ma ka mauna a Wākea. Iā mākou e holokai ana, e kipa hou ana i ka piko o Wākea ma ka moana, a e hoʻokupu ʻia ana ka wai mai ka mauna a Wākea mai a i ka moana a Wākea ala, i ka wā hoʻi a Wākea (ka wā e kū ai ka lā i ka lolo, ʻo ia hoʻi ke a-wakea). No laila, e kū ana ka waʻa i kahi manamana nui a Wākea, ma waena o ke alanui polohiwa a Kāne ma ka ‘Ākau, a me ke alanui polohiwa a Kanaloa ma ka Hema, ke ala ‘ula a Kāne ma ka Hikina, a me ke alanui maʻawe ʻula a Kanaloa ma ke Komohana. He mea nui ana ia no mākou. A he mea nui nō hoʻi no kākou ka hoʻomaopopo ʻia ʻana o nā akua, nā ʻaumākua, a me nā kūpuna o kākou. Ma o ke ola mau ʻana o nā iwi o nā kūpuna, pēlā nō kākou e ola mau ai.
Nīnau aku, nīnau mai: E hoʻāʻo ʻoukou.  E hoʻomaʻamaʻa i kāu mau hopunaʻōlelo a haku i nā nīnau.  E haku i ʻekolu mau nīnau.  (He aha . . ., Na wai . . . , Aia i hea . . ., ʻO wai . . ., He aha . . . )  E kōkua mai i ka haku ʻana i nā nīnau. 
A great resource for students of traditional Hawaiian dance, this beautiful handbook filled with archival photographs covers the origins, language, etiquette, ceremonies, and the spiritual culture of hula. Hula, the indigenous dance of Hawai’i, preserves significant aspects of Native Hawaiian culture with strong ties to health and spirituality. Kumu Hula, persons who are culturally recognized hula experts and educators, maintain and share this cultural tradition, conveying Hawaiian history and spiritual beliefs in this unique form of cultural and creative expression, comprising specific controlled rhythmic movements that enhance the meaning and poetry of the accompanying songs.
It wasn’t until the age of eight, however, that his admiration for and his desire to be like his sisters and cousins sparked his lasting interest in hula. His two elder cousins, Dedrick and Kalei, were members of The Men of Waimapuna under the direction of Kumu Hula Darrel Lupenui and his sisters danced for ʻIlima Hula Studio under the tutelage of Nā Kumu Hula Louise and Luka Kaleiki. Surprisingly, joining The Honolulu Boy Choir was the first step in fulfilling this desire. It was at the choir that he would hone his vocal abilities and also meet his first Kumu Hula, the late Carl Leroy “Hōkū” Rasmussen (choir instructor) and join his first hālau, Hālau Ku Aiwa Kama‘ehu. Kumu Lōpaka danced for Kumu Hōkū until his passing in 1984. He took a break from hula and joined the Polynesian group Pūpūkahi Oteʻa, which would later be known as Aloha Pumehana O Polynesia, under the direction of Dennis Kia and Denise Kauhionamauna Kia Ramento. He studied Polynesian dancing, drumming, and singing until he was 18 years old. Through his hula and Polynesian training, he went on to join Kawika Productions, Germaines Lūʻau, Tihati Productions, Hilton Hawaiian Village Kings Jubille, The Magic of Polynesia, and The Polynesian Cultural Center Promotional Team.
Ala ‘o Kawika a me Micah a me Makana i ke kakahiaka nui i ka Pō‘aono. He ‘ohana lākou. E hele aku ana lākou i ke kahakai ‘o Waimea. A‘o aku ko lākou makuakāne i ka he‘enalu. ‘Ehiku makahiki o Kawika. ‘Eiwa makahiki o Micah. ‘Oi aku ka lō’ihi o Kawika ma mua o Micah. Pōkole ‘o Micah. ‘Umikūmālua makahiki o Makana. Makemake lākou e a‘o mai i ka he‘enalu. Pīhoihoi loa lākou.
Makaʻāinana often were referred to as “kupa o ka ʻāina,” those familiar with land. Kupa describes the close relationship that makaʻāinana had with their specific ʻāina. This relationship is a product of decades of living on, cultivating, and being nourished by that land. This close relationship allowed makaʻāinana to perform their tasks efficiently.
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As a teenager, Keoua’s maternal grandmother, Lilian Alepoki (Grace) Nelson, tried to teach Keoua those skills that were passed down. As hard as she tried, Keoua could never understand the concepts and in his words was “all thumbs”. So, he felt that it was his duty to collect and prepare the hala for his grandmother and grand-aunts who wove daily.
Radiologists ana i ka hoʻomanawanui i ka mahalo i ka hopena maikai Oia i mau ai i manaoia i keia ano o ka haʻahaʻa-mahele lāʻau pāhawewe lapaau. Symptoms nui hou me ka nui emi ma ka cough a me ka hanu hou, a me ka hoʻomanawanui noho hana me ka maikai ma Hawaiʻi o ke ola. Mākou manaoio nei i hana i ka hana o ka multimodality Inc o integrative GcMAF eia kekahi me ka haʻahaʻa mahele lāʻau o ka pāhawewe ua lawa ia e hoʻokō, E makaala’na i hoʻoponoponoʻaoʻao hopena o regular kiʻekiʻe-mahele lāʻau pāhawewe. He aha ka oi kahaha ko oukou naau o thatthis hang nei ma ka loa holomua ke kahua i undergone a pau i loaʻa therapies (: e like me chemotherapy) Just I ka ohe. Wurde emi mana e like me ka maʻi ‘aʻai wurde hoʻopale a me ka pilikia i ka pono. I ka hoʻohana ‘ana GcMAF Inc, e ike maikaʻi i nā hualoaʻa me ka i nā kūlana kanaka: e like me ka pāhawewe (E makaala’na i ka iwi lolo) ma systemicʻike mau chemotherapies Ka mea hanaʻino i ka’ōnaehana paleʻea nenoaiu.
I love Na Lima Mili Hulu Noeau.  I have been taking lei hulu (feather lei) classes in California for years and have been hearing about Aunty Paulette and Aunty Mary Lou all this time.  I had the privilege of meeting Aunty Mary Lou a couple of years ago.  She showed us around the shop, “talking story” with us about family and could identify the maker of each lei she had in her shop, taking particular care to point out the intricate stitch work.  Time flew by and we didn’t actually get a chance for a lesson, but we must have been there for at least a couple of hours anyway!  
a’aka alaka’i alau Hula Ali’i aloha spirit Anuenue art of hula audience Auntie beauty began blessed cAiia cAkeakamai Cazimero chant Chinky Mahoe dancing hula feel flowers Genoa Keawe halau haumana Hawai’i Hawaiian cul Hawaiian culture Hawaiian language Hawaiian music Hawaiian tradition healing heart heritage Hi’iaka ho’ike Holokai honor hula auana hula dancer Hula Festival Hula Halau hula kahiko hula school hula sisters Hula Studio hula teacher Ilima invited Iolani Japan Kaholokula Kalakaua Kalama Kaleinani Kamehameha Hula Competition Kaua’i Kawaili’ula Ke’ena keiki King Kamehameha Hula knowledge kumu hula kupuna learned hula Leilani Leimomi leis lives love of hula luaus Mahalo Mana’a mele mentors Merrie Monarch Festival Mokihana mother O’ahu ohana Pacific Islands perform perpetuate Polynesian Cultural Center Polynesian Dance pono Puamohala respect share Shari song spirit of aloha studying hula Ta’a teach hula tion Tulama ture uniki Vicky wahine
A dusting of furikaki was nice, the katsu sauce was house made, thick, rich, and they gave extra. The chicken was lightly breaded, but some of the most perfectly tender and juicy pieces of chicken I’ve ever had. Kudos to that. Aside from the outter battering I barely had to chew this.
According to Perreira, “Coming together like this is extremely valuable. Classroom time is important, but this builds on that. This allows all of us to hear a broader range of thoughts and better shape our individual perspectives.”
ʻAʻohe i loaʻa kekahi pale i kēlā me kēia me kaʻaʻohe kūkākūkāʻana. ʻO kekahi mau māhele Duplo he wahi me ka hui. E hoʻohanaʻiaʻelua aʻoi aku paha nā inoa e haʻi i ka inoa. ʻO nā kūʻaiʻana a Suria i ka hale kūʻai i nā mea a pau no lākou, hāʻawi au iā ia i kahi kālā hou.
Sailing programs with NKW range in length and design from day sails out of Kawaihae harbor to week long sails up and down the coast of Hawaiʻi Island. The length and sail plan for each program is determined by the availability of the group. Learners must successfully complete a swim test in order to sail. The swim test may be conducted on the same day or in a previous session. Swim tests average two hours in length and include a 500-meter swim and forty-five minutes of treading water. The swim test is not only a measure of physical endurance but also of mental endurance as the group only moves as fast as the slowest swimmer, and always together. Sailing programs have been instrumental in the development of young individual’s personal development and community building abilities.
I ka hiki ‘ana ‘o Hōlanikū i Hawai’i, hui me ka hānau mua, ‘elua lā, hele ‘o ia i ke ala mau o nā mea āpau, a ho’i mai ka moku no Honolulu nei, ua kau maila ‘o ia me kēlā mana’o lī’ō i loko ona, eia nō kāna manu i loko o ka hale manu.
ke kuhi pneumatic, ke alakomo pinepine PSW-06 / 10 / 15, me ke kikowaena hana keleʻele, 6bar, 600L / min air air compressed PSW-21 ~ PSW-100, me ka’ōmole alloy alumini, 7bar, 800 L / min ke kōpili hau Kaha kiʻekiʻe a hāhā hou i ka pololei: ± 5% a me …
I think that this olelo no’eau means to look up to others when you need help and support. The people you can look up to are your older siblings, parents, teachers, and elderly. These people can be sources because you can trust them. They set examples for us. You can gain tons of knowledge from them.
Old Navy windbreaker / jacket, pullover size xl colors are blue and yellow from smoke and pet free home. In good condition, see pictures. Please view all auctions and feel free to ask questions. Fast and free shipping, will be mailed out same day if paid before 3:00pm.
The Sonny Ching Collection and the Ho’ololi clothing line will be kicking off the 2017 holiday season with a fashion and trunk show with Riches Kahala at Kahala Mall! Sunday November 26 at 1:00p. Save the date!
Me ke kāhāhā nui, ‘ike akula ‘o ia i ka mo’opuna āna, e waiho mai ana ke kula o Kaiolohia i ka La’i-luahine, a ‘ike akula ‘o ia i kēia keiki hapa Kaleponi e moe ana ma ka ‘ao’ao o kāna mo’opuna, e huli ana ke alo i luna, ‘a’ohe wahi koupu o lāua a ‘elua, a ‘ike pū akula nō ho’i ‘o ia i ke kumu ma’oma’o e kū ana i ke kula o Nininiwai, ua pehia iho e ka makani lawelawe mālie o ‘Īloli a waiho wale ka i’a ho’omalu a ke Konohiki, i ho’ohiki au i ku’u mea nani a ‘ike ‘oe.
For our story on the monument in the current issue, “The Far Atolls,” Pulitzer Prize-winning journalist Kenneth Weiss spent twenty-five days exploring the monument aboard a NOAA research vessel, sailing from Honolulu to Kure Atoll and back. Though the current issue is available digitally only through download, we’ve posted the story in honor of the WCC and the President’s visit. Read, comment, share and as always mahalo for reading.
All fashion students need a basic understanding of how a style becomes a fashion and how this spreads or declines, whether they are studying fashion design, merchandising or any other fashion course. Containing student-friendly features such as discussion questions, activities and further reading, this book is essential reading for all students studying across all areas of fashion.
Lashio became important during the Sino-Japanese War resp. World War II as the Burmese terminus of the Burma Road 1938-45. In World War II, Lashio was taken by the Japanese April 29, 1942 and liberated by the Allies March 7, 1945.[4]
The Hana Hou Outrigger Canoe Club takes to the water each week (weather and other factors permitting – always check this site for updates each Sunday morning – please see the extra note about this at the bottom of this page) on picturesque Newport Bay in a Polynesian style, six-person outrigger canoe.
Sharp dressed couple sitting for a full length portrait shot taken at the Daisy Studio. Memphis, TN, Vintage African American photography courtesy of Black History Album. I love the Memphis Daisy studio images.
Uaʻike wau ua lilo kēia i kekahi o nā ala maʻalahi a me kaʻoluʻolu e hoʻolilo ai i ke kālā i kēia mau lā, e like me nā kānaka me kaʻikeʻole i ka moʻolelo. ʻIke au i kēiaʻoihana maʻalahi, hiki a maʻalahi. Makemake wau e hoʻonui aku i ka manawa me koʻuʻohana a me ke kauʻana me nā hoaaloha, a ke loaʻa nei ka wā no kaʻu mau hana’ē aʻe. ʻOi, nui loa ka uku. ʻAʻohe mea e manaʻo e hanaʻoe ma ka home me kāu uku! Hiki iāʻoe ke loaʻa kēia ola. E hoʻomaka me kēia ma kaomiʻana i kahi.

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One Reply to ““ma hea e kūʻai ai au i ka nohu waiwai””

  1. Ma mua o ko lāua hui ʻana, ua ʻaʻe ʻia kona kapu e ʻelua aliʻi. Ua hele nihi akula lāua ma kahi o ko Kahalaopuna hale aliʻi a ʻike lihi aʻela i kona uʻi. Ma muli o ko lāua lili no ka lilo ʻole o Kahalaopuna i kekahi o lāua, hoʻopunipuni akula lāua iā Kauhi penei, ʻoiai ʻo ia e ʻauʻau ana ma Waikīkī, “Ua hoʻolei ʻia mai nei māua i ka lei e Kahalaopuna.” Ua piʻi maila ko Kauhi huhū a lili a hoʻoholo ihola ia e lawe i ke ola o Kahalaopuna a make.
    aesthetic ambergris aromatic Art of Perfumery Arthur Symons associated Baudelaire beauty blossom bouquet Bradley Bradley’s breath Charles cited civet cologne colour Cooper Critical decadent delicate eau de cologne edition Eliot English essay essence exotic fin de siècle floral flowers fragrance French garden Gosse Greek hair heliotrope Ibid imagination incense influence Jenny John Addington Symonds Lady Lafcadio Hearn Letters lilies literary literature lover Lubin Luca Turin lyric Mackenzie Mary meadowsweet memory Michael Field modern musk natural nineteenth century notes novel odor odour olfactory one’s Oscar Wilde patchouli perfume Perfumery Piesse Piesse’s pleasure poem poet poetic poetry published Raffalovich Ricketts rose scent seems sense of smell sexual Shelley Shelley’s soap song sonnet soul speaker Studies suggests sweet Swinburne Swinburne’s Symonds’s synthetic T. S. Eliot texts tuberose verse Victorian violets Virginia Woolf vols London Walter Pater Wilde’s William woman women word writes York
    Because makaʻāinana worked intimately with the land and the ocean to produce food, clothing, transportation, supplies, and other necessities, they were stewards of the land. Makaʻāinana performed the majority of the critical day-to-day tasks of their community.

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